By Andrzej Gasiorek
A historical past of Modernist Literature offers a severe evaluate of modernism in England among the overdue Eighteen Nineties and the past due Thirties, concentrating on the writers, texts, and hobbies that have been specially major within the improvement of modernism in the course of those years.
- A stimulating and coherent account of literary modernism in England which emphasizes the creative achievements of specific figures and gives particular readings of key works through the main major modernist authors whose paintings reworked early twentieth-century English literary culture
- Provides in-depth dialogue of highbrow debates, the cloth stipulations of literary creation and dissemination, and the actual destinations within which writers lived and worked
- The first large-scale e-book to supply a scientific assessment of modernism because it built in England from the past due Nineties via to the overdue 1930s
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Extra info for A History of Modernist Literature
How this crisis is e xperienced and interpreted varies widely. For some writers, it is ontological, denoting a far‐reaching loss of faith in philosophical and religious systems of thought, while for others, it has more to do with the destabilising impact on society of modernisation – the spread of a scientific worldview and the dominance of the technologies that accompanied it, the globalisation of the economy, the expansion of state power, the rationalisation of daily life, the growth of metropolises and the movement of people from the country to the city, and the development of ‘mass’ culture – which seemed to be altering the world beyond recognition.
Thus the ‘Dada Manifesto’ of 1918 begins by announcing that ‘To launch a manifesto you have to want: A. B.
22 Literary modernism pivots around the twin crises of representation and subjectivity, the one implicating the other. It is a critical commonplace that modernist writing tends to embrace either subjectivism, in the form of an ‘inward turn’, or objectivism, in the shape of some version of ‘impersonality’. Such a distinction is valid only in a limited sense, however, because it conceals the range of overlapping (and often changing) positions taken up by writers who ostensibly belong to the same movement but who should not simplistically be aligned with either an impersonal or a subjectivist aesthetic.